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Click here to subscribeENGLISH SCHOOL (Late 18th century) A Lady, wearing a white décolleté dress with red sash, oval miniature on ivory with hair plait to reverse with the initials “EC” in gold, 2 1/2" x 2”, gold (unmarked) frame (Illustrated) (Est. plus 24% premium inc. VAT) Non transferable standard ivory exemption declaration number JNWHSRJ3 Condition Report: Very good, slight dent at top of frame.
THE ARGYLL AND SUTHERLAND HIGHLANDERS PRINCESS LOUISES DRUM MAJORS SASH, fine example of a Elizabeth II period yellow cloth sash with bullion embroidered EIIR cipher above silver plated shield supporting two miniature drumsticks and underneath ‘THE ARGYLL AND SUTHERLAND HIGHLANDERS PRINCESS LOUISES’. Regimental lace to the edging. Leather backing to the sash with Hobson and Sons tailors label. Very fine example.
Robert Devereaux 3rd Earl of Essex (1591-1646), Captain-General and Commander-in-Chief of the Parliamentary army: a small oval silver Military Reward badge, 1642, armoured bust almost full-face, with sash over shoulder, broad lace collar, rev. oval garnished shield of the arms of Essex, integral suspension lugs, 31.8 x 21.5mm, 5.38g (MI 298/117; Platt II, type G, pp. 84-85), very fine or better and rare.21.54mm wide
The Order of Merit of the Sovereign Military Order of Malta: a cased set of insignia, silver, silver-gilt and enamels, comprising: Sash badge, white enamel cross with the emblem of the order at the centre, arched crown suspension, white sash with red stripes to the edges, extremely fine; breast star of eight groups of rays overlaid with a smaller version of the white cross, extremely fine; and a collar stud, all in their fitted case of issue (miniature badge absent); together with two further portions of sash, attributed to Maurice Dorman.
The Mesopotamia D.C.M. group of five medals to Warrant Officer 2nd Class Philip Joseph Finucane, 1st Battalion Connaught Rangers: Distinguished Conduct Medal, George V (6434 Q.M. SJT: P. J. FINUCANE. 1/CONN: RANG:); 1914 Star, with August-November clasp (6434 Q.M. SJT P. J. FINUCANE. 1/CONN. RANG.); British War Medal 1914-20 (6434 W.O. CL. 2 P. J. FINUCANE. CONN. RANG.); Victory Medal, with oakleaf emblem (6434 W.O. CL. 2. P. J. FINUCANE. CONN. RANG.); Army Long Service and Good Conduct Medal, George V (I-6434 Q.M. SJT: P. J. FINUCANE. CONN: RANG:); mounted for wearing, the last with official alteration to surname, good very fine and better. [5]; together with the recipient's dress tunic (as an N.C.O.), scarlet with green facings and elephant collar badges; his side cap, and an associate sash. [qty] Round medals 36mm diameter D.C.M.: London Gazette 20/10/1916"Q.M.S., P. J. Finucane.... for conspicuous service and devotion to duty throughout the [Mesopotamian] campaign. He has at all times discharged with duties zealously and well."The 1st Battalion Connaught Rangers were stationed in India at the outbreak of the First World War, and arrived in the European theatre 29th September 1914. According to family tradition, the recipient was gassed at the Second Battle of Ypres in April 1915. He went with his battalion to Mesopotamia, arriving in Basra 10th January 1916, and was Mentioned in Despatches (L.G. 19/10/1916) and awarded the D.C.M. He was discharged as a R.S.M. in November 1922.
Half-length, ceremonial portrait of the Russian Emperor Alexander I (1777-1825) in full face. In the alcove, near the column and the red curtain, the king is depicted in military uniform, with a sash and epaulettes, with his hand on the book of laws. His gaze is anxious and concerned about the fate of Russia. It is noteworthy that the laws for him are above autocracy. The book closes the crown. This can be interpreted as the constitutional program of the king. Without a signature. The pommel of the imperial crown indicates the presence of the painting. Oil, canvas. 90×72 cm. Width: 94cm, Height: 130cm, Depth: 10cm, Weight: 20kg, Condition: Good, Material: Canvas, oil
A mid 19th century figure of Will Watch - standing with legs apart, by a stack of grey barrels, on an integral base with gilt line decoration on which the words WILL WATCH feature in gold paint, he wears a large hat featuring orange and pink plumes and an open-necked white shirt and blue jacket, a sash with a cross-hatched pattern in green and brown, pale lemon knee-length breeches with green and ochre floral detail, magenta stockings and black boots with orange tops, in his right hand he holds a pistol and in his left a rifle, 39cm high
* Hungarian Officer'sTunic, circa 1900, with tailor's label for Tiller & Co, Budapest, soft light blue cloth with gilt-metal buttons with flower head design, gold bullion braiding to the collar and cuffs with embroidered rank stars and red piping, 73 cm long, 40 cm chest, with a gold bullion sash with the cypher of Franz Joseph QTY: (1)
A cotton lace/crochet long white dress with a marabou collar/neckline. A white lace pinafore dress/culottes embellished in a gold leaf pattern with straps trimmed in small white feathers and a cream lace motif. A silver lurex cocktail dress with V neck, shoe string straps and a wide candy pink sash with silver paste buckle by Blanes, metal zip, early 1960s. A tulle/lace see-through dress with a heart in red sequins and lace, thin straps, shorter length at front than back, 1970s. A short-sleeved cream tulle coat with lace inserts decorated in embroidered pink roundels, 1960s/70s. (5)
A candy pink crimpoline dress in the form of a coat/dress, double-breasted with a rolled collar, covered buttons, metal zip, long sleeves with buttoned cuff, below-the-knee length, two low patch pockets, size 14, 1960s. A pink nylon/jersey mix swimsuit in candy pink, the front has a small skirt, moulded bustlines, straps edged in silver braid, front decoration of silver studs in a silver braidwork motif, early 1960s. with a cream lace neckline, back and front. A red cotton dirndl skirt with a rayon red underskirt, edged in lace with a waistband and a wide red stiff (buckram) sash, by Campus Classic. Two satin 1930s/early 1940s evening dresses, one in pink satin cut on the bias with a wide neckline, smocked shoulders, fluted short sleeves and a tied V back, Rosset 1933; the other a hyacinth blue long satin dress with two floral corsages, gathered bodice, cap sleeves, cut on the bias, 1939/40. (5)
A Victorian silver Ancient Order of Foresters sash badge, having foliage and wreath relief design with central Stag's head and Light Infantry style bugle. Hallmarked by Hilliard & Thomason, Birmingham, circa 1890. Approx. 9cm wide. Weight: Approx. 22.3 grams (0.7ozt) Further Details: Some tarnishing but generally in good condition.
An Assortment Of Military And Civil AccoutrementsMostly 19th CenturyComprising three and a half pairs of leather cavalry knee-boots; a pair of black woollen gaiters with small gilt ball buttons; an infantry officer's levee pattern waist belt; a Birmingham senior police officer's waist belt and sword slings (slight damage to the clasp); an artillery officer's shoulder belt; a burgundy shoulder sash; an Irish lady's gala belt to the 4th Irish Dragoon Guards; parts of a British court dress heavily embroidered with characteristic gilt lace foliage; and four pairs of spurs (a lot)For further information on this lot please visit Bonhams.com
A Rare Officer's Full Dress Sabretache, Pouch, Slings, Waistbelt And Barrel SashCirca 1860-1901The first faced in red cloth, and all in very fine condition (4)Footnotes:Provenance Thomas Del Mar Ltd In association with Sotheby's, Olympia, 8 December 2010, Lot 100For further information on this lot please visit Bonhams.com
A Lt. Colonel's Full Dress Tunic Of The Derbyshire Regiment (Sherwood Foresters)Circa 1881-1904Of red cloth with green facings, gold lace decoration and gold cord epaulettes, complete complement of gilt unit buttons for 1881-1901, and collar badges in silver, gilt and blue enamel bearing Imperial crown but to the Derbyshire regiment (1901-1904); together with a pair of navy blue cloth overalls with narrow red outer stripes, and a gold and red leather levee pattern sash; and an officer's full dress tunic of the Cheshire Regiment, circa 1881-1914, of red cloth with buff facings, gold lace decoration and gold cord epaulettes (rank badges missing), and complete complement of gilt unit buttons (4)For further information on this lot please visit Bonhams.com
An Officer's Full Dress Tunic Of The 1st Volunteer Battalion, The Royal Berkshire RegimentCirca 1885-1908Of red cloth with navy blue facings, silver lace decoration, epaulettes, and complete complement of Victorian silver-plated unit buttons (collar badges missing, lining with some wear); together with an officer's levee pattern waist belt and shoulder sash (3)For further information on this lot please visit Bonhams.com
The black short shell jacket with gilt braided borders and seeded buttons, with scarlet lining and label for J.B. Johnstone Dublin and London, and in ink below 'A R Kirkpatrick Esq R.A.' With corded epaulettes with a single star for the rank of 2nd Lieutenant, with Queen's Crown Royal Artillery buttons. With breeches with broad scarlet stripe and buttons marked 'Mc Bride & Sons St James's S.W.'. With fringed sash and black leather belt and pouch bag with wavy bullion borders and finely worked gilt buckle and fittings, the end of the belt with VR within a cartouche beneath a crown, with flechette darts on an oval backing with rose, thistle and clover decoration. The pouch bag with conforming VR monogram within a cartouche beneath a crown. Alexander Richard Kirkpatrick J.P. of Donacomper near Celbridge in Co. Kildare (1813-1891). Born on the 6th August 1813 the oldest son of William of Donacomper Kirkpatrick and Mary Carr. He studied at Trinity Hall where he was both very wealthy, the family estates amounting to some 3,700 acres, and hunting mad, no doubt to the detriment of his studies. He married Catherine Louisa Trench in August 1854. A Barrister at Law from 1840 he is listed in the Ireland Directory at 18 Mountjoy square south, Dublin, Later being recorded as a JP and Magistrate. He is buried amongst members of his family at Donacomper Cemetery, County Kildare. The family sold Donacomper, an early 19th century Tudor-revival house, in 1965 following the death of Sir Ivone Kilpatrick a distinguished Diplomat, to the American Bredin family who retained much of the contents, the uniform may well have left the property at a sale of the residue at this time. See Burke's Landed Gentry of Ireland 1958. Provenance: ex collection of Daniel H.F. Gillman of Dun Laoire and Bray Co. Wicklow. (1909-2005). Gillman and his brother Sylvester were regular attendees at Coutny House auctions. Being Irish Georgian Society members, they were noted for their knowledge and collections of such items being credited in a number of relevant books including the 2nd edition of Mark Bence-Jones 'Guide to Irish Country Houses of 1988. *CR Jacket with signs of alteration or repair at cuffs, right elbow and possibly collar, signs of wear and a couple of small holes. Breeches with signs of wear. Sash and shoulder belt and patch with some signs of age and use. Generally a very fine uniform with magnificent shoulder belt and pouch.
AR * Princess Margaret (1930-2002). Countess of Snowdon, younger sister of Queen Elizabeth II. Portrait of Princess Margaret by Ronald Searle (1920-2011), 1956, pencil, watercolour and bodycolour on paper, three-quarter length, full face, wearing a tiara, sash and evening gown with long white gloves, signed and dated lower left, a little spotting to upper margin, 51 x 30 cm, framed and glazed with descriptive label to lower mount, overall 74 x 53 cmQTY: (1)NOTE:A fine caricature portrait of Princess Margaret by Ronald Searle who produced 12 portraits that were reproduced as colour photolithographic centrefold illustrations for Punch in 1956-1957. The portraits mimicked the style of the Spy and Ape cartoons published in Vanity Fair in the late Victorian and Edwardian eras. This was number 7 in the series, published in Punch, 19 December 1956. A copy of the photolithographic illustration (with printed verse by B.A. Young beneath) is pasted to backing card with Searle's ink caption details and copyright stamp dated 1956 beneath. Other subjects in Searle's series included T.S. Eliot, Laurence Olivier and Vivien Leigh, Bertrand Russell and Lord Beaverbrook.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- The Honourable Aline Partington, 1935; oil on canvas board, inscribed 'Study of Miss Parkinton' [sic] verso, bears old printed label 'The late Mr. P.A. de / Laszlo's Will Trust. / Master Phillip de Laszlo' attached verso, 40.3 x 32.6 cm. Provenance: In the possession of the artist on his death; By descent in his family. Christie's South Kensington, 13 June 1997, lot 59; Private Collection, UK. Literature: László, Philip de, 1935 diary, 17 January entry, p.3. Sitters’ Book II, opp. f. 85: Aline E. Partington. Oct. 4th 1935. Studio Inventory, p.73 (390): Study of the Hon. Aline Parkington [sic]. The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.6510. Note: The finished portrait, for which this is a preparatory oil study, was begun by de László in January 1935. According to the artist’s diary, it was commissioned by the sitter’s paternal aunt, Mrs Alice Ann Sidebottom, possibly for her niece’s engagement to Sir Kenneth Weir Hogg, 6th Bt, whom she married in 1936. This commission seems to have challenged the artist as he destroyed two canvases before being satisfied with his third and final composition, which is almost identical to the present portrait. The finished portrait is untraced. Aline Emily Partington was born on 8 June 1907, the only daughter of Oswald Partington, 2nd Baron Doverdale, and the Hon. Clara Isabel Murray, daughter of Montolieu Fox Oliphant Murray, 1st Viscount Elibank. She is here shown seated three-quarter length to the right, her head turned to the left, looking full face to the viewer, wearing a white evening dress with a blue sash tied round her waist. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.6510). An image of the finished portrait is displayed under image 4.
Follower of Michiel Jansz van Miereveld, Dutch 1567-1641- Portrait of a noble man, wearing a red sash, white lace collar, wide brimmed hat with red plume, holding an ornate pike, standing in a battlefield with a dog and pikemen beyond; oil on canvas, 119 x 79.5 cm. Provenance: Private Collection, UK. Note: The present work contains an unidentified coat of arms in the corner, which appears to contain a 'croix pattée', which is associated with various Christian and military orders, and is often used as a symbol of valour.
Four Royal Doulton Nisbet dolls in original boxes to include: a bride, 'Pink Sash' with COA, Heirloom dolls 'Presentation at Court' with COA and 'Lords' with COA. Together with a collection of four boxed Barbie dolls to include: 'The Tale of Peter Rabbit' 100 years celebration, 'Barbie 2003', 'Exotic Beauty' and 'Sophisticated Wedding 2002'. (B.P. 21% + VAT)
TWO UNBOXED O, BE JOYFUL BEARS TEDDY BEARS 'Murdoch' and 'Harold', designed by Polly Barton, Murdoch is a brown mohair bear with tartan sash and metal dirk, height approx. 54cm, Harold is a grey mohair bear with blue beret and replica 1930 - 1945 Defence medal, height approx. 38cm, both appear complete and in very good condition, both with swing tag and label to back seam
FRANZ XAVIER BERGMANN (Austrian, 1861-1936) cold painted bronze - Arab Warrior with Flintlock, cast as an Arab standing wearing a red cap and white headdress, brown cloak over striped blue robe, striped sash securing his sword, priming his rifle, powder flask and musket ball sack slung at his right hip, foundry mark and numbered 678(4?), 18.5cms highProvenance: private collection North WalesComments: sash bent, paint wear, musket slightly bent.
FRANZ XAVIER BERGMANN (Austrian, 1861-1936) cold painted bronze - Nubian Musician, cast as a musician playing a tambourine, standing wearing a cloth turban, web-like chest ornament, red and white pleated kilt tied with red sash, foundry mark to base and numbered 3260 to rear, 18.5cms highProvenance: private collection North WalesComments: paint wear.
Eight Lladro figurines: Lady with parasol (Damita Milanesa) no. 5323; Girl with rabbit; Girl carrying flower pot (daisa); Girl holding hat/blue sash on waist (daisa1978); Girl with flower basket (daisa1983); Pamela curiosa no. 5009 (head damage), Farm boy with wheelbarrow and dog; and Rabbit near a branch.Condition report:Pamela curiosa no. 5009 (head damage) - the head has been broken off and reglued with heavy and obvious fracture lines across the chin, and one of the blue ribbon ties to the back of the hat is broken off as a result. Lady with parasol - parasol is loose. The lacework to the canopy appears to be in good order.Possible small losses to flowers and leaves of the two figures with floral baskets. Otherwise all other figures are free of any damage.
Statuette en porcelaine de Meissen représentant une femme turque dansant, milieu du XVIIIe siècleA Meissen figure of a dancing Turkish lady, mid 18th centuryHer left leg outstretched and holding a draped white cloth, wearing a hat with side flaps, purple tunic, yellow sash and shoes, 14.5cm high, faint crossed swords mark in blue (her right arm and left foot restored)For further information on this lot please visit Bonhams.com
Statuette en porcelaine représentant une femme turque, milieu du XVIIIe siècleA Meissen figure of a Turkish lady, mid 18th centuryWearing a hat with side flaps heightened in purple, a lilac tunic over a green dress and a striped iron-red and gilt sash, 15.2cm high (her left hand restuck)Footnotes:Provenance:With Bacchi Antichità, Milan (paper label to underside)For further information on this lot please visit Bonhams.com
A RARE TIBETAN PALA-STYLE FIGURE OF MANJUSHRI C.17TH CENTURY OR EARLIERThe bodhisattva with his right hand lowered and open-palmed in a boon-granting gesture (varadamudra), the right hand with his thumb and forefinger touching in a gesture of teaching or discussion (vitarka mudra), wearing a sash and a beaded sacred cord (rajnopavita) across the torso, with branches of the ashoka tree at his left shoulder, and seated at ease (lalitasana) on a double lotus pedestal, 4.3kg, 21.4cm.Provenance: purchased Christie’s London, 26th July 1990, lot 155.The style of the statue recalls the classical eastern Indian Pala period (8th-12th century) traditions that were revived in Tibet as homage to Indian sculpture from the homeland of Buddhism. Compare the seated posture, hand gestures and jewellery style, especially the low three-panel crown and jewelled armbands, of an 11th or 12th century eastern Indian Manjushri in a private collection, see Jeff Watt, www. himalayanart.org/items/9438, and compare the typically Pala style of the off-centred upper and lower petals of the lotus base with a Pala Tara in the Ford Collection; cf. Ulrich von Schroeder, Indo-Tibetan Bronzes, p.283, fig.69E. The bases of Pala statues are often left empty like this example. This figure and the base are probably solid cast. 十七世紀或更早 西藏仿帕拉風格文殊菩薩坐像 來源：倫敦蘇富比1990年7月26日·編號155。
Circle of Thomas Hudson (1701- 1779) Portrait of an Officer of the Royal Irish Artillery c. 1765 O.O.C., in gilt frame, 99cms x 84cms (39" x 33"). (1) Provenance: Christies, 17 May 1995, Sale 7715, Lot 197. La Corte Degli Ulivi Gallery, Paris 2015 [the painting is accompanied by a Certificate of Authenticity signed by Sergio Schina of the La Corte Degli Ulivi Gallery] Wearing a dark blue jacket over red waistcoat, with a red sash over his shoulder, this officer of the Royal Irish Artillery emanates confidence and authority; qualities found to be in increasingly short supply during the period the Royal Irish Artillery regiment, which saw service in North America. Formed in 1755 as the Artillery Company of Ireland, recruits from around Ireland joined up and were stationed at Chapelizod, in Co. Dublin. In 1777, during the American War of Independence, units of the regiment were dispatched,via Cork, to fight the American colonists, under the command of General John Burgoyne. Gunners from the regiment were marched to New York, where the commanding officer there, Brigadier General James Pattison, had a low opinion of his Irish troops. Unsurprisingly many gunners deserted and went over to the American side. Buttons from the Royal Irish Artillery regiment have been found at several battle sites in North America. Following the Act of Union, the Royal Irish Artillery was integrated into the Royal Artillery and ceased to exist as a separate regiment. Born in Devon in 1701, Hudson trained under Jonathan Richardson, before establishing his own successful portrait practice in London in the 1740's. He employed many assistants, including the specialist drapery painter Joseph van Aken. His pupils included Joshua Reynolds and Joseph Wright. In 1748 Hudson visited the Netherlands and he was in Italy four years later. In 1753 he bought a house at Cross Deep, Twickenham, not far from Pope's villa. He died at Twickenham in 1779. Dr. Peter Murray, 2023
Thomas Wyck (1616-1677) Portrait of Oliver Cromwell on Horseback, with Moorish Attendant c 1655O.O.C., 87cms x 69cms (34" x 27"). (1) Provenance: Erasmus Earle (1590-1667), thence by descent; William Bulwer-Long, Heydon Hall, Norfolk, thence by descent until with The Weiss Gallery, Jermyn Street, London; Private Collection, IrelandLiterature:The Weiss Gallery, illustrious company; early portraits 1545-1720, 1998, no.21The Weiss Gallery - 25 Years (Illustrated, p. 150) In 1657, when Parliament offered the title of King to Oliver Cromwell (1599-1658), he stayed true to his principles and refused. However, there was no escaping the fact that during these years he was effectively the sole ruler of Britain. Cromwell was concerned to project a public image that was anti-monarchical, and was determined not to be idealised. He had his portrait painted by artists as diverse as Peter Lely, Robert Walker and Samuel Cooper, all of whom were faithful to his instructions to depict him ‘warts and all’. However, some artists, notably Walker and Thomas Wyck, preferred to paint Cromwell with at least some of the trappings of monarchy. The present impressive portrait by Wyck, painted around 1655, hung for many years in Heydon Hall, seat of the Bulwer family. Built in Elizabethan times, the house has strong historical associations with Cromwell: In 1648 Erasmus Earle, lawyer, Member of Parliament and Recorder of Norwich, was appointed Cromwell’s Serjeant-at-Law. Two years later, Earle purchased Heydon Hall in Norfolk. There is a tradition of Cromwell having visited the house on several occasions, and an oak tree in the park is named “Cromwell’s Oak”. Wyck’s portrait of the Lord Protector would have been at home in this setting, and it remained at Heydon even after the house passed to the Bulwer family in the mid eighteenth century. It is a unique portrait, and no other version of it is known. Seated on a white horse, dressed in half armour, and wearing a blue sash, Cromwell holds a marshal’s baton. Beside him, with a red cape draped over his knee, stands a Moorish servant, handing him a helmet. The portrait is evidently set in North Africa, in a rocky desert landscape, with sea in the background. In April 1655, Cromwell ordered the bombardment of Tunis, and successfully secured the release of prisoners held hostage by Barbary pirates. This decisive military action would have raised him even higher in the estimation of the English public.In creating this image of Cromwell, Thomas Wyck would have been familiar with Anthony Van Dyke’s equestrian portrait of Charles II, painted in 1633, which was in Hampton Court during those years (it is now in Buckingham Palace). Depicting the King at the gates of Paris, it was painted one year after Van Dyke was appointed ‘Painter in Ordinary’ to the monarch, and some eight years after Charles’s accession to the throne. It was engraved in 1655 by Pierre Lombart, who replaced the head of Charles I with that of Cromwell. Like Van Dyke, Wyck travelled to England from the Netherlands in search of commissions. He painted views of the city of London before the Great Fire of 1666. Although his depiction of the Protector is closely based on Van Dyke’s portrait of Charles II, he made several changes, including replacing the figure of Pierre Antoine Bourdon, Charles II’s riding master, with a Moorish servant, and substituting the triumphal arch symbolising the gates of Paris with a setting on the coast of North Africa. Cromwell’s pose is identical to Charles II in the Van Dyke portrait, although he is clean-shaven, while the King was bearded. In keeping with his wishes not to idealised, Cromwell’s hair is greying, his eyes are drooping slightly and the infamous wart is clearly visible on his chin.Dr. Peter Murray
19th Century British School Sir Gordon Drummond (Quebec 1772 - 1854 London) 'Lieutenant Governor of Upper Canada, c. 1816' O.O.C., 76cms x 64cms (30'' x 25''). (1) Provenance: Private Collection. Dressed in a scarlet coat, with gold braid and a high wing collar, Gordon Drummond looks every bit an imperial military leader. The red sash and large medal he wears on his jacket are part of the regalia of a Knight Companion of the Order of the Bath. Drummond appears comparatively young in this portrait, perhaps in his 'thirties.' As he was awarded the Order of the Bath in 1816 when he was in his late forties, it can be conjectured that either the portraitist was flattering his subject by making him look younger, or else the sash and medal were added to a portrait painted earlier in Drummond’s career. Born in Quebec in 1772, Gordon Drummond was of Scottish descent, his father Colin having migrated to Canada eight years previously, to work for a firm run by his brother Adam, supplying victuals to British troops in North America. Colin Drummond gradually worked his way up to becoming Paymaster General to the army in Quebec. In 1780, after his father's death, Gordon Drummond returned to England. After attending Westminster School, he joined the British army as an ensign with the 1st Foot in 1789, seeing action in the Netherlands and Egypt, and also being stationed in the Mediterranean and West Indies. By 1805 he was a Major-General and four years later returned to Canada, part of the staff of Governor-General Sir James Henry Craig. During the war of 1812 Drummond was appointed Lieutenant-Governor, and led successful attacks on Fort Niagara and Buffalo. He brooked no nonsense, and saw to it that army deserters were hanged for treason. He led attacks at Lundy Lane and Fort George, that resulted in the deaths of hundreds of soldiers, on both the American and British sides. He suffered some setbacks, being forced to abandon a siege of Fort Erie and retire to Chippawa. In 1815, not long after the cessation of hostilities, Drummond was appointed Governor-General of Canada, which involved him in military administration. He offered an amnesty to deserters and fought to secure pensions and recognition for those who had fought in the war, including Mohawk allies. Returning to England in 1816 he was made a Knight of the Bath and appointed Colonel of the 88th Regiment of Foot, before moving on to command other regiments. In 1825 he was promoted to full general. He died in 1854 at his home in London, aged 82. Dr. Peter Murray, 2023
A Safavid style woven silk sash Poland, 18th Centuryof long rectangular form, the central panel woven with alternating horizontal bands of blue, red and pink flowers, a wide panel at each end containing four large floral sprays, the end borders with letters possibly in cursive Cyrillic 345 x 56 cm.For further information on this lot please visit Bonhams.com
Bali, polychrome wooden sculpture, ca 1900, being a pillar base, representing Wilmana, his right hand originally holding an implement (not there anymore), his left holding a slip of the sash, traces of black, white and red pigments. H. 54,5 cm. Christie's Amsterdam, 25-10-1995, lot 152. [1]
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